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MOVABLE 

STATIONERY 



VOLUME 6 

NUMBER 4 

NOVEMBER 

1998 




Pop-ups 
An Adventure In Teaching 

Barbara Valenta 
Staten Island, NY 

About fifteen years ago, having cycled through 
post-college jobs as a coffee house waitress (New York 
City), data analyst and computer programmer (New 
Mexico), mother, and art school attendee (mostly during 
eight years in Vienna, Austria), 1 finally surfaced again 
in New York City, complete with husband, high school- 
age child, south-of-Soho art studio, and bravely entered 
the field of art education. I had always had mixed 
feelings about 
this field. I 
loved children 
and their art, 
its energy, 
spontaneity, 
directness and 
innocence, but 
had been direly 
warned that if I 
entered the field 
of teaching I 

could say goodbye to the life of painting and sculpture 
that meant so much to me. I was told that all my artistic 
energy would be drained. That I would no longer make 
my own art. That has not proved to be the case. Although 
my studio art is abstract, and very different from the 

work of my students do, I find 
that the energy level, joy, 
creativity and appreciation of 
my young students buoys me 
up. In no other area has this 
been so much the case as in 
the area of pop-ups. My 
activity in this field has led me 
fc "*/K* ^-Xfi^^r | in the most surprising 
■ti. ^' s!0rf Jm directions, into the authorship 

of a book, Pop-o-mania: How 
to create your own pop-ups 
(Dial Books, 1997) the 
curating of a children's 
pop-up book show for 
the Ellis Island Museum 
near the Statue of Liberty, 



Pop-up made in a poetry workshop 





House constructed 
by a Second grader 



At the Sol lo 
Children's Museum 



addressing a state association of librarians in San 
Antonio, Texas at their annual conference, and meeting 
countless people from all over the world during bookstore 
appearances and workshops and library events. 

Most recently it has led 
to the opportunity to teach 
college-age students at 
Pratt Institute in New York 
City, and share the wonderful 
world of paper engineering 
with an upcoming generation 
of graphic designers, 
illustrators, and architects. 

Over the years my approach 
to teaching pop-ups to 
elementary and middle school 
students and to teachers has 
evolved and developed. I 
first saw the potential of 

November 22, 1 998pop-ups while working as a part-time 
artist-in-residence at an elementary school. Teachers 
wanted an art project that would tie in with the 
curriculum, which happened to focus on Christopher 
Columbus. Two different projects were devised. Both 
hinged on the use of a step structure made by making two 
cuts on a the center fold of a page and folding-up, 
creasing unfolding and pushing the resulting tab-like 
shape into the interior of the folded page. Most of the 
classes were led through a structured approach to 
pop-ups that consisted of the following parts: 

1. An introduction to pop-up books, pointing out 
their structures and the fact that books can also be shaped 
in interesting and different ways 

2. A demonstration of the simple paper engineering 
required to make a "step." Also an introduction to 
"spinners" and "sliders." At this time I would liken the 
construction of pop-ups to building a bridge - something 
where certain structural principles apply. This would be 
a very "following directions" phase of the instruction (the 
emphasis changed as my teaching techniques developed, 
as I'll explain later.) 

3. The third part of the teaching sequence involved a 



The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $15.00. For more 
information contact Ann Montanaro, The Movable Book 
Society, P.O. Box 1 1654, New Brunswick, New Jersey 
08906. 

Daytime telephone: 732-445-5896 
Evening telephone: 732-247-6071 
e-mail: montanar@rci.rutgers.edu 
Fax: 732-445-5888 

The deadline for the next issue is February 15. 




Public school workshop 



Continued from page 1 

drawing lesson, where "the 
artist as markmaker" was 
discussed, using Van Gogh's 
marvelous drawings of trees 
and fields, water and sky as 
an example. Foreground, 
middle ground and 
background were discussed 
as children were invited 
to draw a scene, first with 
pencil, then with Sharpie 
Marker, on their paper- 
engineered page. Then 
they were invited to draw 

a smaller picture on a separate piece of paper, to be later 
cut out and glued to the front of their "step." As they 
worked they were invited to think of how they could 
bring further movement onto the page through the use of 
sliders and turners. 



4. A watercolor lesson 
showing wet-on-dry and 
wet-on-wet techniques 
followed, and imaginative use 
of color mixing was 
encouraged Room was left at 
the bottom of the page for a 
story. Children built on the 
multiple steps that I taught 
as the became braver and more 
at ease with my teaching. 
Pop-up made in an 
architectural unit 





At a bookstore signing and workshop 



At the same time that most classes were making water 
colored pop-up books, one class with a very motivated 
classroom teacher was working with me to have her class 
produce oversize collaborative mixed media pop-up 
books based on Columbus. The teacher actively led the 
intellectual labors of the students as 1 introduced the art 
aspect. 

Another 
project at 
this time 
involved a 
fifth grade 
class inter- 
viewing their 
families about 
how they or 
their ancestors 
came to the 

United States (in conjunction with a curriculum about 
New York and immigration). Photocopies of relevant 
documents were gathered from far flung relatives as well 
as parents, and interviews incorporated into the books. 
These books, which took a semester to produce, were 
later exhibited at the Ellis Island Museum. I approached 
a curator there with the idea and as a result of our 
brainstorming a space was found adjacent to the main 
hall of the Museum that had never been used before for 
an exhibition. So it was a blessing for all. Parents and 

grandparents as well as the 
students attended the opening, 
and I began to see that pop-up 
books could be a catalyst for 
powerful and warm family 
feelings. This was borne out 
later when I moved on to 
museum and bookstore and 
library venues with my 
workshops. The making of 
pop-ups was most often 
individual, but also frequently 
drew parents into the equation 
as helpers and sometimes, 
with very young children, 
co-creators. I began to see the potential of pop-up making 
as a quality time activity that brings busy parents and 
children together in a joyful way. I have watched 
children who are often absorbed in computer games find 
pride of accomplishment and a creative hands-on activity 
in this area. 

Professionally, I began to give pop-up workshops and 
teacher-training sessions for other arts organizations, and 
sometimes on my own. I gave presentations on several 

Continued on page 12 




3-D sketch 



Editioning a Fine Art Press Book 

Maria G. Pisano 
Plainsboro, New Jersey 

When I started out making artists' books they were 
all one-of-a-kind pieces. As such the challenge was to 
create a unified whole in terms of idea and execution. 
As one-of-a-kind work also allows an artist to work 
more intuitively, so that changes and additions can be 
made up to the last moment. These works for me grow 
as they go along - in complete flux up to the last 
closing moments. 

An editioned book, in contrast, poses special 
challenges and discipline. Although each book is 
individually made, printed, and assembled by the artist 
(or in collaboration) like a one-of-a-kind, each book in 
the edition needs to be reasonably alike, if not picture 
perfect. To achieve this, planning for an editioned 
book has to be thorough and complete once the model 
has been designed. Keeping in mind that everything in 
the edition has to be uniform, every detail has to be 
attended to. 

I have been working 
all this past year in 
papermaking, knowing 
that at some point I 
was going to do a book 
in handmade paper. I 
was working with 
watermarks and 
wanted this particular 
feature of the paper to 
be central to the book. 

1 chose a book that 
had been in the works 
for many years both as an idea on paper and 3D model. 
The original model needed revising for this project, 
rather than a simple accordion style book, I worked on 
designing a double concertina model with interior 
supports that move and follow the theme of the book. 

The result was Snake, a book that uses handmade 
paper with a watermark especially designed for it. 
Using abaca fiber beaten very fine, and coloring the 
pulp to a light tint, the sheets were pulled and then cut 
and assembled to make the design. A double 
concertina structure with central supports was 
designed to carry the motif and the movement of the 
book. The book closed measures 2 3 /< inches high by 

2 Va inches wide by Vi inch thick. There are 19 pages 
in front and 19 in back. A limited edition artists' book 
of 25 copies, with six artist's proofs in a lighter tint. 



was created with watermarked handmade paper and 
relief printing on Arches. The type for the poem is in 
Cheltenham Open Face. It is enclosed in a case 
wrapper using the same paper as the book. 

The first challenge came in making the paper. Very 
finely beaten abaca loves to shrink and creates many 
problems in the drying process. Initially many sheets 
were lost, since I was pulling more sheets than I could 
dry at one time and underestimated the shrinking 
problem. Once this problem was solved, I moved to the 
next: how to print the text on the paper. 1 wanted to 
use the same ink as that used for the interior structure 
of the book, so I needed a method that would give me 
that flexibility. Since my poem is a haiku, I decided to 
have stamps made for each line and then ink them 
individually with a brayer. In order for the text to be on 
all the books in the same area, I needed to construct a 
jig - one of many that have been used to put this book 
together. I cannot underscore enough the importance 
of creating jigs for editioned books. They are essential 
when everything is being printed, cut, and folded 
individually by hand. 




MARIA G. PISANO 



Once the text was printed, a jig was used for the 
folding pattern, and another to cut the supports so that 
the two halves could be joined. Two more jigs were 
needed, one for the tail and one for the head. Needless 
to say, without the jigs, no two books would have been 
alike or workable. To begin anew with each book, and 
reinventing it over would only consume a great deal of 
time and effort, with poor results. This particular book 
is especially complex, and the jigs helped 
tremendously in making a difficult job work smoothly. 

The planning for this book, the design of the 
watermark, the construction for the book format were 
all steps that needed a lot of careful planning and 
precision in execution. Creating jigs and planning as 
many of the details ahead of time as possible, helps 
tremendously in the long and intensive task of pulling 
off an edition. 



Note: Snake has been acquired by the Book Arts 
Collections at Stanford University, Yale University, 
Occidental College, and Rutgers University. For 
more information about Snake and other artists' 
books, contact Maria at 6 Titus Lane, Plainsboro, 
New Jersey 08536 or mgpstudiot2!aol.com. 



Heard Around the 1998 Convention 

Ellen Rubin 
Scarsdale, New York 

• "There's no better piece of pop-up architecture 
then Robert Sabuda's cookie house." Allison 
Abraham-Architect 

• "This is better than Christmas!"- participant's 
reaction to receiving a Cookie Count signed 
bookmark, Ed Hutchins' movable catalog, and 
the nylon tote-bag with The Movable Book 
Society logo, a gift to attendees from Adie Pefla. 

• "In corporate society, there's no brain." -Pat 
Paris reacting to her own report of Hallmark 
shredding artwork. 

• "It is so exciting to be among book-lovers!"- 
Howard Rootenberg 

• "Where's Andrew? Where's Andrew?"- 
references to Andrew Baron who was needed to 
fix broken pop-ups on the spot and had a 
penchant to disappear, especially from the 
group on its outing. 

• "Can I have your autograph?"- Adie Pena, 
col lector extraordinaire, asking paper engineers 
for their autographs on the Movable Book 
Society T-shirt he had prepared for the 
occasion. 

• The "final product [pop-up books] is a 
compromise between (the artist's) vision and 
the clock." -Chuck Murphy 

• "Does a parent like their child?" -Allison 
Abraham responding to a question about the 
merits of The Architecture Pack. 

• "Can you believe a grown man still works for 
his mother?"- Howard Rootenberg 



Ups and Downs of pop-ups 

Michael Dawson 
Ludlow, England 

Christmas is coming and the market for pop-up 
books is getting fat. About 85% of pop-up titles are 
published in the autumn to capitalize on the seasonal 
market. It is not a new phenomenon: the first movables 
were published in London by Dean & Son in the 1850s 
- mainly featuring pantomime subjects. Towards the 
end of the last century publishers such as Ernest 
Nister, Raphael Tuck and Ward Lock vied with each 
other to produce the most sumptuous and innovative 
gift books, aimed at catching the eye of young readers, 
or more likely that of their parents or grandparents. 

There has been something of an explosion in the 
genre over the last 25 years. Waldo Hunt, chairman of 
Intervisual Books in California, which is probably 
responsible for half of all pop-up books packaged 
internationally, was the first to exploit the 
opportunities of cheap printing and hand-assembly 
offered by developing countries, such as Colombia, to 
produce ever more elaborate feats of paper 
engineering. It became almost commonplace for 
rockets to launch themselves form the pages of book he 
had packaged (Jan Pienkowski's Robot, 1981) or 
anatomical models to erect themselves in scientifically 
accurate detail (The Human body by Jonathan Miller 
and David Pelham, 1983) or even to see a three- 
dimensional galaxy form and then explode in the Big 
Bang ( Universe by Heather Couper and David Pelham, 
1985). Interestingly, although all these international 
bestsellers were packaged and manufactured abroad, 
they were designed in the U.K. 

Britain can claim some of the most outstanding 
paper engineers in the world: Jan Pienkowski and 
David Pelham have already been mentioned but, for 
example, Keith Moseley, Ron van der Meer and David 
Hawcock are equally prolific- yet their contribution to 
the success of pop-ups has not always been fully 
appreciated. It is the authors who invariably receive 
the leading credit in the listings or reviews, even if 
they contribute only a few words of text. Illustrators 
receive secondary billing but paper engineers, who 
may have been responsible for conceiving the book, are 
usually consigned to small print on the back cover - or 
worse still, overlooked completely. 

Undoubtedly, if individual pop-up titles become 
bestsellers they generate enormous sales worldwide. It 
is standard practice to market titles internationally. 



sometimes in as many as 17 foreign language 
editions. Tfie human body has sold more than one 
million copies since it first appeared 14 years ago 
and it is still in print. But the proliferation of 
designers and publishers trying to break into the 
market during the mid-1980s and early '90s has 
perhaps led to overkill. Then, the number of pop-up 
titles competing for space on the shelves of 
bookshops seemed profligate, especially as many 
merely duplicate earlier successes. There were surely 
far too many dinosaurs rearing their ugly heads from 
pop-up pages than were strictly necessary to satisfy 
even the most avid tyro-zoologist. 

The economics of launching a new pop-up can 
seem daunting. Because of the high production costs 
associated with hand-assembly, it is only feasible to 
think in terms of an initial print run of 25,000, 
though this can be split between a number of 
different language editions. Only then can unit costs 
be kept to manageable proportions. In terms of the 
American market this is small beer, but for the new 
breed of packagers now operating in Britain it can be 
difficult to break in, especially as the U.S. retail 
book trade is itself experiencing difficulties, 
particularly in the children's sector. (Packagers are 
the companies which supervise the creation and 
production of the pop-up titles, while publishers buy 
rights to distribute and sell the finished product.) 

Even Intervisual Books has been having a 
difficult time recently. In 1996 it recorded a net 
deficit of $544,242, "the worst loss in the 22-year 
life of the company," Waldo Hunt told his 
shareholders. Among factors contributing to the 
downturn were a slump in international sales, fewer 
tie-ins with Disney and a strong dollar. But the 
company is fighting back. 

"IB is doing fine now," says Waldo Hunt, in his 
characteristically combatant manner." "We ill 
increase sales by $2m this year and, by the grace of 
God, may break even. We've started to sell some of 
our 800 backlist titles under our Piggy Toes and 
Pop-up Press imprints. Meanwhile, the Hunt Group 
(which originates new product) has produced 16 
novelty board items featuring holographs, fuzzy 
animals, shaped books and even one which includes 
a wind-up train. This together have generated $5m 
in sales." 

Inevitably, though, a sluggish retail market across 
the Atlantic affects sales in the U.K., too. Edward 
Pitcher, who runs Electric Paper - a comparatively 



new London-based pop-up imprint - confirms that 
America is becoming increasingly difficult to 
penetrate. "We have no new titles out this year, " he 
says, "as I'm having to adapt to the idea that first print 
runs can no longer depend on the U.S. We are looking 
at fresh markets, such as South Africa, in which to 
launch a new range next year." 

Another problem he perceives is a swing away from 
"traditional" pop-ups, a field in which he believes it is 
becoming increasingly difficult to come up with 
original ideas. "Everyone now asks for novelty items 
with add-ons - sound effects, fluffy toys, trinkets, - it's 
becoming quite difficult to distinguish books from 
toys." 

Oyster Books is another modestly-sized U.K. 
packager which has experienced similar problems but 
seems to have overcome them . Based in Somerset, with 
a team of 10, including an in-house designer, the 
company has developed a very distinctive, if somewhat 
fey, graphic style that encompasses conventional 
picture books (often in miniature format), novelty 
items (including inevitably, kits containing fluffy 
bears, chick and so on) and straight-forward pop-ups. 
"We are still committed to producing pop-ups and 
movables," explains co-director Jenny Wood, "but we 
find customers are becoming increasingly price 
sensitive. People are being more selective in what they 
buy for their children. That partly explains why we've 
only published one title that incorporates complicated 
paper engineering this season." 

The title in question is Fran Thatcher's The terrific 
teddy bear pop-up book produced in association with 
the publisher Van der Meer. It is in the mould of her 
The fantastic fairy tale pop-up book (1992) and Snow 
White and other fantastic fairy tales (1994). Although 
the earlier titles achieved large American - and 
worldwide - sales, U.S. trade rights for The terrific 
teddy bear have not been sold. However, it is published 
in British, Australian, Italian, French, German, 
Danish, Brazilian, Dutch, and Spanish editions. Next 
year it will also be published in Norway, Sweden, and 
Japan. 

A somewhat larger and more venerable enterprise, 
founded 1 5 years ago in New York, is the curiously 
named Sadie Fields Productions (there is apparently no 
one called Sadie Fields connected with the 
organization, which was in fact founded by David 
Fielder and Sheri Safran). It originally operated as a 
pop-up/novelty book packager, but after relocating in 
London during the mid-1980s it has - since 1992 - 



involved itself extensively in publication for the 
home market under its own Tango Books imprint. 
"I'm pretty sure," explains David Fielder, 'lhat we 
were the first children's book packager to publish in 
our own domestic market. There were several 
reasons for this, not the least an awareness that 
publishers would probably decide that they should 
try to cut out the 'middle organization' and originate 
books of this sort themselves. Our decision to 
publish opened up all sorts of markets that were 
pretty much closed to us at the time: Australia as a 
separate publishing territory, book clubs, and, with 
changes in the U.K. trade, direct sale. 

"In making the move we anticipated current 
trends in America, where other packagers such as 
Intervisual have been forced to publish themselves. 
So the market has fragmented from a few creators 
and producers into a much wider range of 
publishers." 

Sadie Fields/Tango Books prides itself on the 
variety and scope of its products. It is particularly 
strong on story or factual books that use pull-tab 
animations (as opposed to three-dimensional effects) 
to enhance the pictures. David Hawcock has been 
responsible for engineering any of these, of which 
Machines (1992), Clark the toothless shark by 
Corinne Mellor and Jonathan Allen (1994) and 
Action robots (1995) are outstanding examples. 
Jonathan Allen is also responsible for its latest title. 
Wake up, Sleeping Beauty, in which pull-tabs not 
only animate the scenes but active a sound chip that 
provides page by page audio accompaniment. This 
is such an unusual feature that the book is being 
promoted by means of special counter displays that 
enable customers to sample the multimedia effects 
before buying. 

Another main player in the U.K. pop-up book 
market is Van der Meer. Its founder Ron van der 
Meer, following the success of Monster Island in 
1 98 1 , has been responsible for a stream of ambitious 
three-dimensional books of every shape, size and 
purpose. Originally from Holland, he settled in 
London after attending the Royal College of Art as 
a graduate student studying educational graphics. 
Initially he worked for publishers and packagers, 
notably with Intervisual on the lavish Sailing ships 
(1984), just being reissued in the U.S., but, 
increasingly, he has become a rigorously 
independent packager who likes to develop his own 
ideas from concept to bookshop itself. 



With a small but dedicated team operating from 
offices in Berkshire, he has tended to concentrate 
increasingly on a series of fun-learning aids aimed at 
enquiring teenagers, rather than solely on children's 
titles. 

"Yes, we are deliberately moving into the adult 
market," he says, "though we still plan to continue 
publishing five or six titles for children each year as 
well. There's so much competition now in the field of 
pop-ups for children, and I'm not really interested in 
fighting for the middle ground. When Art pack was 
published in 1992 it was a tremendous gamble. Almost 
everyone predicted a flop. But I managed to prove that 
a market exists for seriously intentioned pop-ups, even 
when they retail at £20 or more." 

Other titles in the series followed, such as The 
maths pack (1994), which has notched up sales of 
300,000 worldwide, The music pack (1995) and The 
brain pack, which came out last year in the U.S. 

Van der Meer complains that these kits, which try to 
use paper engineering technique creatively so as to 
explain and illuminate complex ideas in a dramatic 
format, tend to be overlooked by critics and 
educationalists in the U.K. "When The art pack came 
out in the U.S. it was reviewed enthusiastically in 
several newspapers and it achieved phenomenal sales 
as a result. Here in Britain it received no coverage at 
all - and sales were predictably disappointing." 
Despite the uncertain times, Ron van der Meer 
remains buoyant. "We sold 2.5 million books at 
Frankfurt this year. Everything is going swimmingly." 

Despite his optimism, the going seems tough at the 
moment for many other pop-up publishers and 
packagers, as a current paucity of exciting new 
products in U.K. bookshops shows. Perhaps too many 
titles in the past have been of insufficient quality, or 
perhaps the market has become satiated. Or perhaps it 
is a lack of innovation. Whatever the reason, the big 
players refuse to be despondent. 

As Waldo Hunt says, "In both the U.S. and the 
U.K., mergers and acquisitions have hurt the juvenile 
market. But the business is still there. Now you just 
have to work harder, be more innovative and explore 
all means of distribution to make up for weak trade 
sales. We're fighting back, and I'm sure we're going 
to make it." 

Reprinted with permission from The Bookseller. 
Originally published December 12, 1997. 




ROBERT SABUDA 



1 VT - Awful 

2 "& - POOR 
3ir-OK 

4 V? - Good 
Sl^- Superb 





, The Amazing Pop-Up Pull-Out Space 
3 *fc Shuttle. Written by Claire Bampton. Ill: 
Derek Matthews & Stephen Seymour. 
Design & Paper Eng: David Hawcock. DK 
Publishing, Inc. 0-7894-3457-1. $19.95 US. 25x30 
cm. Foldout, pop-up space shuttle 120 cm (4 ft.) tall. 
Book consists of one large sheet folded over several 
times that contains the pop. Text and artwork on the 
front and back of sheet. Art: photos, realistic and 
humorous illustrations. Plot: Everything you ever 
wanted to know about the space shuttle. 3-D shuttle 
is great (if a bit unwieldy). Chock full of facts as per 
DK policy. Paper Eng: Complex (and you have to 
hand 'pop' certain paper elements. 

Bed Bugs. By David A. Carter. Little 
Simon. 0-689-81863-7. $14.95 US, $21.00 
Can. 23x1 8cm. 6 spreads. 1 large pop, 1 
mini pop-up book with 5 small pops, 2 pull tabs, 1 
wheel, and 1 flap with glow in the dark star. Art: 
Humorous computer generated. Plot: Those crazy 
bugs are back (we just never seem to be able to get 
rid of them, do we?) sharing bedtime bug vignettes. 
Cute and funny as usual from Mr. Carter. 
Paper Eng: Simple to somewhat complex. 

Circus. Written by Meg Davenport & Lisa 
V. Werenko. Ill: Meg Davenport. Paper 
Eng: Andrew Baron & Sally Blakemore. 
Little Simon. 0-689-82093-3. $18.95 US, $26.50 
Can. 28x27cm. 6 spreads. 5 multi-piece pops, 7 
tab/flap mechs, 1 wheel, 7 flaps. Art: Bright, 
humorous cut paper. Plot: Wacky adventures at the 
circus with an even wackier aunt. So busy, but lots of 
fun. Colorful art is great. Nice mechs from up- and- 
comer Andrew Baron. Paper Eng: Complex. 

^A^ Das Struwwelpeter-Pop-up-Buch. By Dr. 
AJLa Heinrich Hoffmann. Paper Eng: Massimo 
■i^i" Missiroli. Scheiber Publishing. 3-480- 
20253-5. DM 24,80; Sfr 23. 21x25cm. 6 spreads. 
2 pops, 7 tab mechs, 2 flaps. Art: Brightly colored 
reproductions of 19* cent, etchings. Plot: 6 famous 
tales of naughty (and nice) children including wicked 
Frederic and Caspar and the soup. You won't see a 
book like this anytime soon at your local U.S. 
children's bookstore. The child who sucked his 
thumbs has his problem solved when a pair of shears 






removes the offending appendages via pull-tab. And 
the phrase 'starving to death' takes on new meaning 
as Casper takes on a supermodel's figure before our 
eyes. Delightfully, deliciously wicked. Extra points 
for bringing back a classic uncensored . Paper Eng: 
Simple. 

Eerie Feary Feeling. Written by Joy N. 
Hulme. Ill: Paul Ely. Paper Eng: Dick 
Dudley. Orchard Books. 0-531-30086-2. 
$13.95 US, $19.95 Can. 19x27cm. 6 spreads, 6 pops, 
Art: Humorous (I think) colored pencil/watercolor. 
Plot: All the creepy things that come out on 
Halloween. Basic fare and not too exciting. Paper 
Eng: Simple. 

Fire Engine to the rescue. By Steve 
Augarde. Tupelo Books (an imprint of 
William Morrow & Co.). 0-688-16328-9. 
$14.95 US. 26x20cm fire truck shape. 10 pages. 8 
pull-tabs, 1 wheel, various removable paper items. 
Art: humorous pencil/watercolor. Plot: Everything 
you ever wanted to know about fire trucks. For very 
young readers with very busy hands. Paper eng: 
Simple to somewhat complex. 

Good Night, Lucy. By Gus Clarke. Little 
Simon. 0-689-81889-0. $12.95 US, $17.95 
Can. 22x22cm. 12 pages. 6 pull-tabs, 6 "use 
the-provided-paper-item-and-push-it-down-the-slot- 
to-make-the-picture-change." Art: Bright, simple 
paintings. Plot: Help Lucy get ready for bed. It took 
me a while to get the hang of pushing the thing in the 
slot (see last month's "I certainly don't like to think 
of myself as stupid") and I'm sure most young 
readers are going to rip this thing to shreds. 
Paper Eng: Simple. 

Harley-Davidson: A Three-Dimensional 
Tribute to an American Icon. Written by 
Jerry Hatfield & Dawn Bentley. Design: Jim 
Deesing. Paper Eng: Rodger Smith. Pop-Up Press. 
1-581 17-013-0. $40.00 US. 32x27cm. 5 spreads, 10 
side flaps. 14 pops, 2 tab/flap mechs, 1 wheel, 1 
small removable book, 1 assemble-your-own 2D 
motorcycle, 1 sound chip of a motorcycle in front 
cover. Art: Photos. Plot: A visually gorgeous 
overview of the legendary motorcycle. Photos are 
fantastic, text is great but why is it a pop-up book? 
Pops are mostly just 2-dimensional extensions of the 
pages. For such a hefty price a bit more could have 
been done. Paper Eng: Simple. 





Christmas Books by Byj and Vardon 

Ann Montanaro 
East Brunswick, NJ 

During the early 1950s Chariot Byj and Beth 
Vardon collaborated on the production of a number of 

Christmas books. In no 
case was the publisher 
identified on the box or 
the book, nor was the 
publication date specified. 
Each of these was issued 
in an illustrated cardboard 
box (measuring 23 x 29 
cm.) and included a spiral 
bound book typically 20 
pages long. Each book 
included pop-ups, games, 
and toys and, judging 
from the number which 
have survived in excellent condition, must have been 
considered Christmas treasures and put aside as the 
season ended. 




Bethlehem to see the 
baby Jesus. The book has 
two fan-folded pop-ups, 
a removable wiseman, 
and a toy, fish-shaped 
whistle. A separate scene 
includes a manger to set 
up and twelve stand-up 
people and animals. 

The wonderful 
window features a 
typical 1950s story. 
Christmas is nearing and 
Katie's guardian angel is worried because she has 
caused plenty of problems all year long. (In June she 
had the audacity to beat all the boys at a track meet!) 
Even Katie knows she has to repent after she breaks the 
stained glass window in the church. Illustrated with 
bright colors, this book includes a small plastic whistle; 
a punch-out angel, rabbit, and lamb to set up in a scene; 
and five punch-out angels to hang from a string to form 
a mobile. 




Pranky's Christmas has press-out goodies to paste 
on the shelves of Old Mother Hubbard's cupboard. 
One of the pop-ups has Santa waving from inside the 
monitor of a black and white tv. He says "There was an 
old woman who lived in a shoe - she had so many 
children she didn't know what to do! So I sent her a t.v. 
to keep them in sight, and make them behave from 
morning till night!" 
Davey and his donkey help clean out the stable to 
. prepare for the birth of 
Jesus in Davey and the 
first Christmas. Davey is 
illustrated in the typical 
Byj style with round face, 
wide eyes and turned up 
nose. A board game, 
"Going to Egypt" is 
printed on the back cover. 




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fetfHA- 




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Larry 's little lamb has 

one pop-up Christmas 
scene and includes a bell 
and a Chicklets box. In Poochy the Christmas pup, 
Poochy gets a home for Christmas. There are double- 
page pop-ups inside the front and back covers and tiny 
toys throughout. 

Little Touselhead, of The shiniest star, polished his 
star until it glowed brightly enough for the wisemen of 



Christmas at the little zoo is the only book from 
this group to be reprinted and Wishing Well Books 
reissued it in 1993. It is a story about animals 
celebrating Christmas at the zoo and includes two pop- 
ups. A pocket inside the front cover contains a paper 
ruler and a ticket to the zoo. 

Chariot Byj illustrated The story of Velvet Eyes 
which was edited by Emil W. Klimack. Velvet Eyes is 
a fawn too young to help the reindeer on Christmas eve 
so Santa gives him the job of moving the broken toys 
out of the workshop. When Velvet Eyes trips, all of the 
toys scatter and are 
collected for use by the 
animals. The cover has a 
gold star embossed 
"Award of Golden Order 
to the No. 1 Christmas 
Helper." The book has 
three simple fold-out pop- 
ups, stickers, small toys, 
and game pieces. 

Kerry Kitten 's 
Christmas adventures 

was written by Beth Vardon and illustrated by Jason 
Lee. Kerry is scared by snow and the excitement of 
Christmas preparations. Two pop-ups, a sheriffs 
badge, water pistol, present, and coloring book 
complete this book. 






I wonder what's under there? Written/Ill: 
Deborah Lattimore. Paper Eng: David A. 
Carter. Browndeer Press Harcourt Brace & 
Co. 0-15-276652-9. $15.95 US, $21.95 Can. 
19x23cm. 12 spreads. 6 simple pops, 2 pull-tabs, 30 
flaps. Art: Humorous pen/watercolor. Plot: A brief 
history of underwear. Funny concept and surprisingly 
educational with lots of facts for inquiring minds. 
Would have been a bit stronger perhaps if Mr. Carter 
had done the art. Paper Eng: Simple. 

Robert Crowther's deep down under 
ground. Candlewick Press. 0-7636-0321-x. 
$14.99 US, $18.99 Can. 22x26cm. 9 
spreads. 16 tab/flap mechs, 17 flaps. Art: Humorous 
pea watercolor. Plot: An exploration of everything 
and anything under ground, from cemeteries to 
subway systems. This title continues Mr. Crowther's 
series of busy exploration books, but with one HUGE 
difference. The front-to-back pages have been split 
apart for the reader to see the actual, inside working 
parts for each tab mech, including it's technical name 
and function! What a wonderful idea for the curious! 
An absolute must have for any movable collection 
due to this unique feature. Paper Eng: Simple. 

^A^ Santa's surprise! Written by Dawn 
AjLfV Bentley. Ill & Paper Eng: Kees Moerbeek. 
*&* Piggy Toes Press. 1-58117-018-1. $12.95 
US, $17.95 Can. 20x18x6cm. 7 spreads. 3 pop-up 
scenes, 21 flaps. Plot: The trials and tribulations of 
Santa's big night told in delightful rebus verse. 
Format is nice (one half of book in each side of an 
Xmas-like box). A good sharing book for adults and 
young readers. Paper Eng: Somewhat complex. 

The Secret Mermaid Handbook. Text 
copyright: Orchard Books. Ill: Penny Dann. 
Paper Eng: Damian Johnston. Little Simon. 
0-689-82255-3. $14.95 US, $21.00 Can. 14x20cm. 9 
spreads. 5 pops, 4 tab/flap mechs, 2 flaps, various 
removable paper & plastic items. Art: Humorous 
watercolor. Plot: The carefree life of a mermaid who 
really loves jewelry (I don't even know how she can 
float with so much on). For very young readers who 
like jewelry. Paper Eng: Simple. 



MOVABLE BOOK PLAYSETS 



Van Gogh's House. By Bob Hersey. Paper 
Eng: Uncredited. Universe Publishing 
(published in conjunction with the Van 





Gogh Museum and the National Gallery). 0-7893- 
02 19-5. $16.95 US, $22.99 Can. 11x13cm. I small 
3D model of the interior of Van Gogh's "yellow 
house," various paper items including 6 stand up 
figures, one small non-pop booklet, 1 softcover slip 
case to hold everything. Art: Actual reproductions of 
paintings, Van Gogh-like paintings to create interior 
of house. Plot: Come visit the genius at home. Reader 
can change all the paintings in the house and even the 
exterior environment from pastoral day to starry 
night. At first 1 didn't really like this because it was 
so small and expensive but it kind of grows on you. 
Booklet is lovely and accurate ("For purposes of this 
production, it has been necessary to alter the 
proportions of some of the paintings reproduced in 
the pop-up house."). Paper Eng: Simple. 



Catalogs Received 

Aleph-Bet Books. Catalogue 58. 218 Waters Edge, 
Valley Cottage, NY 10989. Phone: 914-268-7410. 
Fax: 914-268-5942. 
Email: alephbet@ix.netcom.com. 

Book central: Your source for instructional manuals 
about the book arts. Catalog 1 and 1998-99 Winter 
supplement. P.O. Box 895, Cairo, New York 12413. 
518-622-0113. Email: bookcentral@artistbooks.com. 

A. Dalrymple. Catalogue 24. 1791 Graefield, 
Birmingham, MI 48009. Phone: 248-649-2149. 

Ann Dumler Books: Children's & Illustrated Books. 
Fall 1998 Catalogue. 645 Melrose, Kenilworth, IL 
60034. Phone: 847-2034. Fax: 847-251-2044. 

J. Whirler Used & Rare Children's Books. Catalogue 
5. P.O. Box 2321. Portland, Oregon 97208-2321. 
Phone: 503-236-2364. 
Email: box2321@teleport.com. 

Jo Ann Reisler, Ltd. Catalogues 45 and 46. 360 
Glyndon St., NE, Vienna VA. Phone:703-938-2967. 
Fax: 703-938-9057. Email: Reisler@clark.net. 

Rose Lasley. Movables & Toy Books. 5827 Bun- 
Oak. Berkeley, IL 60163-1424. Phone: 708-547- 
6239. 



Donating or Selling 

Dan Stern 

Santa Monica. California 

The other side of collecting is donating or selling. 
Much as we would like to, we can't take it with us. 

This assumes you haven't been saving the books for 
your children or grandchildren - a wonderful legacy! 
- while they temporarily outgrow them. But even they 
might consider donating or selling some of the books 
that have appreciated considerably or ones they don't 
want to keep. 

Donating 

Depending on your tax bracket, it can actually be 
more advantageous financially to donate a book than 
to see it. Ask your accountant to be sure. 

Also, in an era where libraries are being cut back in 
every way, individuals can play a key role in creating 
important, imaginative collections. This is especially 
important in light of a Supreme Court decision of the 
late 1970's that made inventory taxable, forcing 
publishers to put books out-of-print much sooner than 
they would otherwise choose to do so. So while there 
may be more than 5,000 children's books being 
published each year, they now go out-of-print at an 
even faster pace and will soon be lost to future 
generations and scholars. 

Always get written documentation when you make 
a donation, so you will have proof when you claim a 
tax deduction. If you need a written appraisal (required 
for donations greater than $5,000) you can contact a 
children's rare book dealer or The American Society of 
Appraisers, a 6,500-member nonprofit professional 
organization based in Washington which has a 
directory of certified specialists. They adhere to a code 
of ethics calling for no selling, and flat or hourly fees 
(no percentage fees). 

Consider the research collections listed below. They 
may want all your books or be looking for some of the 
items you have to fill gaps in their own collections. In 
this way your books would be well taken care of for 
future scholars of children's books. They are also great 
places for doing research on children's books: 

The de Grummond Children's Literature Research 

Collection. 

McCain Library and Archives 

Southern Station, Box 5148 

The University of Southern Mississippi 

I lattiesburg, Mississippi 39406-5148 

Dee Jones, Curator 



A major research center. The de Grummond 
collection is also probably the easiest to donate to. 
They seem to have the room for any of the collections 
and will take materials from anyone. They also provide 
an appraisal free of change that you can use for tax 
purposes. 

J. Eugene Smith Library 

Eastern Connecticut State University 

83 Windham Street 

Willimantic, Connecticut 06226-2295 

Lois G. Wolf, Collection Development Librarian 

The Eastern Connecticut State University is 
interested in developing a collection of pop-up and 
action books. Their new library building provides for 
additional staff and increased space for their Chi Idrens' 
collections. Before books are donated to the collection, 
the library needs to know what is being donated and 
the condition, what preconditions the donor may set 
and whether they are acceptable. 

The Northeast Children's Literature Collections 
Special Collections Department U-5SC 
Homer Babbidge Library, 369 Fairfield Road 
Storrs, Connecticut 906269-1005 

Specializes in writers and illustrators from the 
northeast United States. 

The University of California at Los Angeles 
UCLA Special Collections 
1713 Young Research Library, Box 951575 
Los Angeles, CA 90095-1575 

Selling 

First of all, consult at least two rare book dealers 
who specialize in children's books. Some auction 
houses have free appraisal clinics, like California Book 
Auctions. It can also be helpful to speak to a children's 
book librarian or professor of children's literature, as 
they often have a good grasp of the history of the field 
and usually no interest in buying and selling 
themselves. If it turns out to be a very valuable book, 
you should consult more dealers and several auction 
houses as well. 

Once you are armed with some specific information, 
you are ready to sell. If you happen to know any 
collectors who might be interested in your books, the 
best thing to do is approach them directly as you can 
then keep all the profit yourself. But short of that, there 
are three ways of selling: through dealers, at auction, 
or advertising. 



Selling through dealers 

Approach several dealers. Because they cater to 
different clienteles and have different specialities, their 
offers can vary quite a bit. 

If they have an immediate customer they may give 
you close to what they would charge for the book in 
order to get it for their client. If it is an area they are 
especially interested in and knowledgeable about, but 
they have no ready buyer, the offer will be roughly 
50% of the final price ( i.e. the price you would see the 
book advertised for in the dealer's catalog). If the book 
is not desirable to them, they may offer as little as 20% 
of the expected price or they may pass altogether. 

Selling on consignment can yield a higher return to 
you, but not every dealer will do it. The more valuable 
the book, however, the more likely that a dealer will 
accept it on consignment. The dealer's fee for selling 
on consignment is negotiable, but usually runs 20% to 
30% of the final asking price of the book. 

Selling at auction 

Auctions set useful benchmarks for what the open 
market is willing to pay and their catalogs are 
fascinating to study, but they should be taken with a 
grain of salt. 

Prices can fluctuate widely depending on a variety 
of factors: timing of a sale relative to general economy; 
the appearance of important children's books in a fine 
literature sale driving up prices because they seem so 
cheap to collectors accustomed to paying extraordinary 
prices; the presence of two buyers competing for the 
same book, sending the price through the roof. It can 
also be difficult sometimes to determine the condition 
of a book from auction catalogs. 

Specialists at auction houses will sometimes give 
you an estimate over the phone and it can be 
interesting to compare their estimates to those of 
dealers - my experience has been that auction houses 
tend to estimate on the high side and dealers on the 
low side and that the final price lies somewhere in 
between. Auction houses sometimes have free 
appraisal clinics. 

California Book Auctions, located in San Francisco 
and Los Angeles, accepts individual books with a 
minimum value of $500, but they also handle estates 
and collections with less expensive books. They have 
free appraisal clinics in their California offices as well 
as other parts of the country. 

Both Sotheby's and Christie's auction houses handle 
children's books in their New York and London 
offices, but unless you have something very rare (i.e. 
minimum value $1,500 for Sotheby's and $5,000 for 
Christie's) or a major collection this is not the right 
venue for you. 



Swann Galleries in New York handles books, maps, 
atlases, autographs and anything on paper. They 
require a minimum of $1,000 worth of material from 
a consigner to include them in an auction. Their 
minimum price at auction is $100. 

Waverly Auctions in Bethesda, Maryland handles 
books, autographs, maps, prints, and ephemera. They 
have ten auctions per year, nine of which include 
books, and their prices tend to be quite reasonable, 
often under $100. They take individual books and 
collections. 

Selling through advertising 

Selling directly to other collectors has the potential 
of bringing the highest possible return, but it requires 
more homework. Get an idea about price from several 
dealers (keeping in mind what their mark up will be). 
Check recent auctions to see if there have been any 
comparable sales of the book that could help in 
assessing its market value (keeping in mind factors 
that may distort auction prices, mentioned above). 

You might try to contact collectors you know 
directly. Be prepared to back up the rationale behind 
your price. Otherwise you can advertise directly 
through the following publications: 

AB Bookman's Weekly 

P.O. Box AB 

Clifton, New Jersey 07015 

The publication of the antiquarian book selling 
trade. It has a special children's edition every year in 
November which is also a useful source for finding 
dealers. 

Firsts: Collecting Modern First Editions 
4445 N. Alvernon Way 
Tucson, Arizona 85718-6139 

A magazine on collecting modern first editions 
with occasional articles on children's books. The 
January- April 1991 issues had a particularly helpful 
four-part series on how to sell collectible books. 

Martha's KidLit Newsletter 

For Antiquarian and Out of Print Children's 

Booklovers 

Box 1488 

Ames, Iowa 50014 

An informative newsletter that specializes in 
children's literature. 

From The family guide to collecting children's hooks: 
investing in the future while enjoying books of today. 




Classroom 3-D exploration 



Continued from page 2 

occasions at the New York City Art Teachers 
Association. I also put together a proposal for a 
do-it-yourself pop-up book kit. While there was much 
interest in the kit idea, negotiations always seemed to fall 
through. So I finally filed the idea in a drawer and forgot 
about it. Then one day I was riding on the Staten Island 
ferry on my way to New 
Jersey to conduct a pop-up 
workshop. I had some of 
my students' pop-up books 
with me, and showed them 
to a woman whom I had 
met only once before. She 
was a fellow artist whose 
"day job" involved design- 
ing book covers for a pub- 
lisher. I told her, without 
giving it much thought, 
that I would love to put 
together a do-it-yourself 
kit on pop-up books. 
Her face lit up and she 

said she'd find out who I should talk to at the publishing 
company. Soon thereafter I met a young editor who loved 
my ideas. The kit idea became a proposal for a how-to 
book on pop-ups whose instructions would themselves be 
three dimensional pop-ups. I was signed on with the 
publisher and it was decided that I would create the book 
in their offices, a very unusual arrangement for them. I 
walked in one day to find that my editor had moved on to 
another job. I met my new editor, who had a very 
hands-on style of working. When I wasn't teaching I was 
working on the book. Things changed. Instead of abstract 

paintings, birds and frogs and 
houses, boats and trees flowed 
from my fingers. I didn't know 
where they were coming from. 
It was both wonderful and a 
bit confusing, in light of the 
fact that my studio work now 
involved very abstract minimal 
but highly textured paintings 
that strove, with their use of 
monochromatic pulsating 
color, for the transcendent. 
There were tasks with the 
book that I really found 
difficult. Not the paper 
engineering-not the color-not 
the art work. But the exact 
rectangles and very demanding measurements were a 
real challenge. Only high motivation made me willing to 
do all the exacting things that I would never otherwise 
have done. I stayed late, leaving the office at eleven at 




■1 



Poetry workshop 





night to catch a late ferry home. Pop-O-Mania: How To 
Create Your Own Pop-Ups was completed and published 
It was well reviewed. It is reaching thousands of people 
and that is very satisfying. 

I began to do 
bookstore appear- 
ances and library 
workshops. My 
philosophy of 
teaching in the 
classroom has 
really changed. 
A very polished 
product is no 
longer so import- 
ant for me. The 
learning process 
of the child interests 
me more. I have 
done collaborative 

residencies with poets, used pop-ups during a 
just-completed architecture unit for second graders, and 
even let kids just make cards for the fun of it. I now teach 
basic principles and then let the children experiment. 
They come up with wonderful ways of doing things. 
Sometimes these are ingenious applications of what I 
have taught and sometimes they forge ahead into new 
territory as yet uncharted by me. 

It's very exciting. I believe that pop-ups are a very 
interesting educational device because they encourage 
convergent "scientific" thinking skills, and then lead 
from there into very "divergent" creative areas of 
thought. So they cover the field of thought processes. 
Teaching is an ever evolving process. The teacher learns 
from her students. And that is as it should be. 



Grade school architectural design 



Hands On! 

The University of Arizona 1 1 th Annual 

Pop-up and Movable Book Exhibit 

December 1, 1998 - January 3, 1999 

257-page exhibit catalog is available for $10.00 

from The University of Arizona, Special Collections/ 

Main Library, Tucson, Arizona 85721 



Learning how to make pop-ups: Part III. 

Robert Sabuda 
New York, New York 

These titles are for pop-up makers of any age, but 
whose skill level is advanced , 

Birmingham, Duncan. Pop Up! A manuel of 
paper mechanisms. Tarquin Publications 1997. 
ISBN 1-899618-09-0, $18.95 US, 18x25cm. 96 pp 
softcover, simple black & white illustrations. 

Areas covered: Almost everything known to the 
field of pop-ups and paper engineering. 

Lessons or projects: Approx. 60, mostly paper 
engineering lessons and principals. Applications of 
the principals to specific projects are given. 

Intended audience: Adults. 

Advantages: The most thorough book to date on 
the subject. Many lessons are known only to 
commercial paper engineers. Excellent for those 
serious about commercial, complex pop-ups. 

Disadvantages: No templates or patterns given to 
trace or photocopy. A great deal of math is used in 
the text (most of which went right over my head, but 
I'm a really bad mathematician), but you don't have 
to understand it to make the pop-ups. 

Chatani, Masahiro. Pop-up Origami 
Architecture. Ondori 1984. ISBNO-87040-656-6, 
$15.00 US, 18x26cm. 88 pp softcover, simple black 
& white instructional illustrations and photos plus 
color photos of some finished projects. 

Areas covered: Very simple v-fold and layers, 
and more complex full 360 degree 3-D structures. 

Lessons or projects: Approx. 40 projects, each 
creating a finished object (face, animal, building) or 
geometric shape. 

Intended audience: Adults. 

Advantages: 23 of the simpler projects are to be 
cut from the pages and actually assembled. Full 360 
degree 3-D structures (most of which are geometric) 
are amazing. Patterns are given for these. 

Disadvantages: The more complex projects are 
very time-consuming and extremely delicate to 
construct. Many require rice paper for binding and 
string for attaching, although for those with patience 
(not me) it will certainly be rewarding. 

Other titles in the Origamic Architecture Series 
by Masahiro Chatani (1 realize this list is incomplete, 
but these are the only titles currently in print): 



Paper Magic - Pop-up Paper Craft. Ondori 
1 988. ISBN 0-87040-757-0, $ 1 5.00 US, 1 8x26cm. 
90 pp softcover. 

Pop-Up Gift Cards. Ondori 1988. ISBN 
0-87040-768-6, $15.00 US, 18x26cm. 80 pp 
softcover. 

Pop-Up Greeting Cards. Ondori 1986. ISBN 
0-87040-733-3, $15.00 US, 18x26cm. 92 pp 
softcover. 

Pop-up Geometric Origami. With Keiko 

Nakazawa. Ondori 1994. ISBN 0-87040-943-3, 

$15.00 US, 18x26cm. softcover. 

Hiner, Mark. Up-pops - Paper engineering with 
elastic bands. Tarquin Publications 1991. ISBN 0-90 
62 1 2-79-0, $11.95 US, 30x2 1 cm. 40 pp softcover, 
simple black and white illustrations filled with flat 
areas of color. 

Areas covered: Mechanisms that spring to 
3-dimensions because of an elastic band placed 
within the structure. 

Lessons or projects: 10, mostly creating finished 
geometric shapes. 

Intended audience: Adults. 

Advantages: Clearly illustrated with lessons that 
are to be cut from the pages and actually assembled. 
Many projects are a bit challenging to construct. 

Disadvantages: Where's the sequel? 

Nakazawa, Keiko. Pop-up Best Greeting Cards. 
Ondori 1995. ISBN 0-87040-964-6, $17.00 US, 
18x26cm. 122 pp softcover, simple black & white 
instructional illustrations and photos plus color 
photos of some finished projects. 

Areas covered: Very simple layers and tents, 
more complex boxes and full 360 degree 3-D 
structures, simple envelope. 

Lessons or projects: Approx. 50 projects, each 
creating a finished object: animal, flower, building. 

Advantages: Patterns to trace or photocopy of 
each project. Many beautiful and unusual designs. 

Disadvantages: The more complex projects are 
very time-consuming and extremely delicate to 
construct. Many require rice paper for binding and 
string for attaching, but what results! Simple projects 
are really simple. 

Uribe, Diego. Fractal Cuts. Tarquin Publications 
1993. ISBN 0-9062 12-88-x, $17.95 US, 24x21cm. 
96 pp softcover, simple black & white illustrations 
some filled with flat areas of color. 

Areas covered: V-fold and layer combinations, 
from the simple to the very complex. 



SMITHSONIAN INSTITUTION LIBRARIES 



Lessons or projects. 10 projects, each creating a 
finished geometric structure. 

Intended audience. Adults 

Advantages. Clearly illustrated lessons that are to 
be cut from the pages and actually assembled. 
Mechanisms are interesting. Includes all the 
information you would ever need on generational 
fractal cuts. 

Disadvantages: Includes all the information you 
would ever need on generational fractal cuts. Would 
have liked some non-abstract structures, too. Lots of 
math and mathey-Iooking diagrams. 





3 9088 01629 2856 



The Snowman. Walking in the air. CBS Records 1982. 
DTA 3950. The record cover is an Advent calendar with 
flaps. 

The Cramps, Off the Bone, illegal Records 1983, made 
in the UK. ILP012. This album cover has an anaglyph 
image or red and green image on the cover to be seen 
through glasses. 

Mike Simkin 
West Midlands, UK 

ttT -T 1 ■T- ^- ^r* -T^ ^ •t* 'T* *r* *T» ^* 



New Publications 



Questions and Answers 

A. In a recent issue of Movable stationery a reader asked 
about pop-ups in LP record albums. I have several: 
Twisted Sister, Jethro Tull, A Christmas manger secne 
on a German record, A Christmas manger scene on a 
Ronco (TV sales) record, Inxs band pop-up on a CD, and 
Elvis Presley CD with a pop-up of Graceland. 
Lindig Hall Harris 
Nashville, North Carolina 



A. There is an album of Charlotte's Web that has a pop- 
up inside the cover. 



A. In relation to the request for CD, LP and 33 Mj record 
albums with pop-ups: 

CD album. Erasure. I say I say I say. 1994. Mute Records 
Ltd. Made in UK Stumm 1 15. This has quite an elaborate 
pop-up. 

45 rpm. Simply Red. Open up the Red Box Remix. 1 986. 
EMI. The cover becomes a red box. 

33 1 / 3 rpm. The Damned, Anything 1986, MCA Records. 
A small center fold pop-up. 

Out of the Blue, Electric Light Orchestra, 1977, 
Marketed by United Artists Records JET 400. This album 
includes a press out and assemble sheet. 

No Earthly Connection, Rick Wakeman MCK 64583, 
A&M Records Ltd. This album includes an anamorphic 
image. 



The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or adver- 
tising. All titles include pop-ups unless otherwise 
identified. Titles reviewed in Robert Sabuda's "Movable 
Reviews" column are not included in this list. 

77k? amazing inventions of Professor Screwloose. By I i an 
Smyth. %Vi x 11. 12 pages. Envision Publishing. 1- 
890633-09-7. $15.95. 

Dracula's tomb. By Colin McNaughton. 9 x 12. 
Candlewick Press. 0-7636-0495-x. $15.99. 

Fuzzy Bear: A getting dressed book. By Dawn Bentley. 
7'/ 2 x9. 10pages.[l pop-up]. Piggy Toes Press. 1-58117- 
011-4. 

Guess how much I love you. By Sam McBratney. 
Candlewick Press. S'A x 9. 14 pages. 0-7636-0675-8. 
$17.99. 

Jack and the beanstalk. A Classic Collectible Pop-up. By 
Chuck Murphy. Little Simon. 9 x 12. 12 pages. 
0-689-82207-3. $19.95. 

Jim Henson 's scary scary monsters. Golden Books. 9 x 
12. 10 pages. $14.95. 0-307-33200-4. 

Max. [Tabs]. By Ken Wilson-Max. Hyperion. 8x9. 12 
pages. 0-7868-0412-2. $12.95. 

Tonka: The best Christmas tree ever, [one pop-up] 
Scholastic. November. 8 x 10. 18 pages. 0-590-03283-6. 
$9.95.